Review: The author identifies the structural components of the subculture that determine the prospects of its development and influence on common culture: philosophical, creative, social and political bases thereof. The number of efficient bases of subculture is directly proportional to the period of life of the subculture and its influence. There are three major steps of subcultural activities: "being involved in the subculture", "subcultural initiation", and "return", each stage also has particular substages. The structure of subcultural activity is compared to the evolution of the individual. The article provides a description and functions of the main archetypical roles of the participants in subcultural activities: the Hero, the Mentor, the Threshold Guardian, the Herald, the Shapeshifter, the Shadow, the Ally and the Trickster. Methodological basis of the research includes the theory of historical-cultural types offered by Nikolay Danilevsky, Vladimir Propp's, John Campbell's and Christopher Vogler's†comparative typological method. The structure-analytical approach to studying subcultures allows to explore subcultural activity over time. In the end, the developed approach provides a complete portrait of the subculture that includes not only a broad description, but also analysis of its influence on human (individual representative) and cultural system.

Review: The research subject of the article is the archetypical grounds of the images of Soviet
economic daily life represented in popular art of the 1960 Ц 1980th. The images typical for the Soviet
culture depict an archetypical narrative model Ц longing for harmony and urge to overcome Chaos
and create Cosmos. Each image contains a code that serves as the key to understanding the Soviet
culture. To discover these image codes, the author of the article analyzes iconic pieces of art that have
been popular for long time, reflects the state of mind and spirits of the society and have a large number
of readers/audience and popular quotations. The research methods used by Sidorova in her article
include the following: the comparative method that allows to describe the changes of the Soviet
economic culture since the 1960th (the Khrushchev Thaw) till the Seventieth, semiotic method, the
archetype concept, hermeneutic method, content analysis and the method of historical typology. It is
the first time that the archetype concept as well as the archetype classification that was introduced by A. Chernyshov within the framework of the Russian national culture offered are applied to the
analysis of images of the Soviet economic daily life in popular art of the 1960 Ц 1980th. Having analyzed
the Soviet economic daily life presented in iconic pieces of popular culture of the 1960 Ц 1980th,
the author has discovered the image codes that have the best representation of the archetype narrative
model. According to the author, the images of the Soviet economic daily life relate to such archetypes
of the Russian national culture as Heroism, Simplicity, Search, Creativity, Wisdom, Loyalty,
Love, Care, Carnival and Rebellion. The images that personified the archetype of Love have become
the most popular ones. The image codes of Soviet economic daily life present the collective view of
the socialistic variant of the national esthetical ideal and reflect the dynamics of that ideal. Thus, the
images that personify the archetypes of Simplicity and Creativity have been gradually disappearing
since the 1960th till 1980th. The meaning of the Heroism archetype has been shifted from labor deeds
for the country to the performance of duties and self-sacrifice for oneТs family. New images of Rebellion
and Carnival started to appear. Cosmos had the same structure Communism had. The path to
Cosmos went in struggle with Chaos but the main drivers were not antagonism between classes or
an external enemy but the struggle of the Сbuilder of CommunismТ against his internal enemy, i.e. his
moral diseases, irresponsibility, dishonesty and indifference. These image codes reflect the duality
of the Soviet picture of the world: the image codes declared that the society was moving towards
Cosmos (i.e. Communism) while in fact Chaos was growing, i.e. massive irresponsibility, economic
mismanagement, dishonesty, social injustice and etc.

Review: By studying the images of the Russian capital in the Russian popular art of 1930 Ц 2010 (fiction
pictures and TV serials) as cultural codes and reference codes that send consumers to the combination
of historical, philosophical, psychological, scientific, literary, commonsense and other knowledge, we
can discover unique cultural particularities as the key to understanding Russian culture as a special type
of culture in general. Moreover, the given research allows to understand how the cultural code defines a
set of images related to the combination of stereotypes. In her research the author has used the methods
of historical classification, comparative (synchronic and diachronic), semiotic and hermeneutic content
analysis of literary texts versus socio-cultural environment. Until now researchers havenТt attempted to
analyze and interpret images of the Russian capital in popular cinematographic art as a cultural code.
The study of artistic images allows to make the following conclusions. The dynamics of reference codes
reflect the cultural dynamics in general as well as all transformations caused by the shift of Russia from
the traditional culture to the post-industrial culture and society, from socialistic culture to the modern
market culture, from socialistic values to the values of the consumer society. At the same time, since 1930
till the present time popular cinematographic art has been creating images related to the archetype of the
Center of the World. While post-industrial culture and society are based on the principle of pluralism in
all spheres which results in the declining role of former cultural capitals and increasing role of province,
we donТt see the same phenomenon in the Russian culture.

Review: It has become quite a common thing to underline that Utopias are based on real life experience because
only the reality can create basis for our imagination. At the same time, it is often forgotten that facts do not
always reveal the historical reality because, as a rule, first they are adjusted to ideological cliché and only then
they are analyzed. As a result, artistic fiction sometimes happens to be credible than the most precise scientific
research. One can easily notice that OrwellТs formula can be easily reversed and sound like СЂHe who controls the
future, controls the past. He who controls the present, controls the futureї. For us the image of future is more important
than the image of the past and this is why today there are numerous appeals to the future as the basis for
legitimacy of the present. The author of the article analyzes images of the future outlined in the five anti-Utopian
novels written in the XX century. The author offers to classify anti-Utopian societies as divergent and convergent.
Michel HouellebecqТs project of post-human future is viewed as an antimonic synthesis of polarities.

Review: the article is devoted to one of the most brilliant pages in history of the Russian art. This is the
period of Silver Age that is also sometimes called the Russian cultural Renaissance, which brings it closer to the
Western Renaissance of the XVЦXVI centuries. That period lasted for quite a short time, yet it was enough time
for many new art trends to be created, including Symbolism, Futurism, Modern, Acmeism and Cubo-Futurism.
Subsequent historical events such as revolutions, the civil war, totalitarian regime, the Second World War
and others, have blurred recollection of the cultural Renaissance and made it more difficult to understand its
ending. However, the author of the article is confident that forms of art that had been created at the turn of
’I’Ц’’ centuries, continued to develop. Since the second half of XX century this art has being СrehabilitatedТ.
Researchers try to discover all facts related to the art of those times. Yet, in order to understand those times it
is not enough just to collect facts. The author of the article offers a new interpretation according to which art
is being viewed based on the periodicity principle. This approach allows to find an unusual form of succession
in art history. This form of succession can be understood if compared not to preceding art but to most distant
epochs.

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